Blur, the Britpop luminaries, crafted a soundscape that defined a generation. From their early Madchester-infused tunes to their experimental later works, their discography is a treasure trove of iconic tracks. This list explores 20 of their best songs, delving into what makes each one essential listening for any music enthusiast. Get ready to rediscover or discover for the first time, the magic of Blur Songs.
20. Best Days (1995)
“Best Days,” from the album The Great Escape, stands out as a moment of poignant beauty amidst an album often criticized for its cynical portrayal of mid-90s London. While The Great Escape sometimes mirrored the excesses it satirized, “Best Days” offers a glimpse into a darker, more introspective side of Blur. This track, with its careworn melody and heartfelt delivery, hints at the deeper emotional currents running beneath the surface of the album and the band itself. It’s a reminder that even within their most conceptually driven work, Blur could deliver moments of genuine and touching vulnerability.
19. Sing (1991)
Long before Blur became synonymous with Britpop anthems, “Sing,” from their debut album Leisure, offered a tantalizing glimpse of their potential beyond the baggy scene. While “She’s So High” introduced Damon Albarn’s Syd Barrett-esque vocals, “Sing” was the true indicator of the band’s unique sonic identity. This track is a captivating concoction of jarring guitar noise, thunderous drums, delicate piano melodies, and a childlike, almost eerie chorus. “Sing” is not just a standout from Leisure; it’s a statement of originality, showcasing a band determined to forge its own path, distinct from their contemporaries. It’s a truly unique entry in the collection of Blur songs.
18. Battery in Your Leg (2003)
“Battery in Your Leg” carries significant weight as the final Blur song featuring Graham Coxon before his departure. Recorded during the Think Tank sessions, the track possesses a palpable sense of finality and reflection. Coxon’s guitar work is nothing short of magnificent, unleashing waves of dense, cathartic noise. However, beneath the sonic grandeur, the song resonates with a melancholic undertone, seemingly reflecting the fractured relationships within the band. Lines like “You ain’t coming back… You can be with me” poignantly capture the sense of loss and broken bonds, making “Battery in Your Leg” a powerful, if bittersweet, conclusion to an era of Blur.
Blur reunited in 2015: Graham Coxon, Alex James, Damon Albarn, and Dave Rowntree, showcasing their enduring legacy in music.
17. Young and Lovely (1993)
Blur, surprisingly, didn’t often relegate exceptional songs to B-sides, but “Young and Lovely” is a notable exception. This tender and evocative track, a B-side from the Chemical World single, poignantly depicts the bittersweet experience of children drifting apart from their parents as they grow. It strikes a deeply emotional chord, reminiscent of the most touching songs by Madness, capturing a similar blend of nostalgia and melancholy. The live version from Hyde Park, recorded nearly two decades later, adds another layer of emotional resonance, imbued with the patina of personal experience and the passage of time. “Young and Lovely” is a hidden gem amongst Blur songs, demonstrating their ability to craft emotionally resonant narratives.
16. Ong Ong (2015)
The Magic Whip emerged as a remarkably robust comeback album for Blur, especially considering its genesis in impromptu recording sessions during an unexpected tour break. Far from simply rehashing past glories, the album delved into experimental territories while remaining rich in compelling songs. “Ong Ong” perfectly encapsulates the album’s spirit. This track is a burst of pure joy, infectious and uplifting, showcasing Blur’s enduring ability to create vibrant and engaging music even after years apart. It stands as a testament to their creative chemistry and their capacity for reinvention, solidifying its place among the best Blur songs of their later period.
15. To the End (1994)
“To the End” marked Blur’s foray into the sophisticated realm of easy listening, a style experiencing a resurgence in London clubs during the Parklife era. However, Blur’s approach went beyond mere kitsch revivalism. They tapped into the inherent lush beauty of the genre, creating a track that is genuinely delightful and captivating. The subsequent duet version with French icon Françoise Hardy elevates the song even further, adding a layer of timeless elegance and cross-cultural charm. “To the End” is a testament to Blur’s versatility and their knack for seamlessly blending diverse musical influences into their signature sound.
14. The Universal (1995)
Sharing an elegiac quality with Oasis’s “Champagne Supernova,” “The Universal” reflects a band at the zenith of their career, aware of the fleeting nature of such moments. These songs serve as Britpop’s counterparts to the anthems that signaled glam rock’s decline, like Mott the Hoople’s “Saturday Gigs” or T Rex’s “Teenage Dream.” Beyond its wistful reflection on fame, “The Universal” also eerily foreshadows the isolating connectivity of social media with the prescient line, “No one here is alone.” This track is a poignant and insightful commentary on both the Britpop era and the burgeoning digital age, cementing its status as one of the most thoughtful Blur songs.
13. No Distance Left To Run (1999)
“No Distance Left To Run” is arguably the most heartbreakingly desolate track from the album 13, a record heavily influenced by Damon Albarn’s personal breakup. The song is a relentless series of emotional gut punches, with lines like “I don’t want to see you ’cause I know the dreams that you keep” and “when you’re coming down, think of me” cutting deep into the listener’s heart. The music itself mirrors this emotional devastation; fragmented and raw, it evokes a sense of impending collapse. “No Distance Left To Run” is a visceral and unflinching portrayal of heartbreak, solidifying its place as one of the most emotionally resonant Blur songs.
12. Coffee & TV (1999)
“Coffee & TV,” a surprising favorite of Bob Dylan (“I like coffee, I like TV and I like Blur”), offers a glimpse into Graham Coxon’s reflections on his discomfort with mainstream fame and his discovery of joy in the ordinary. Sung by Coxon, the lyrics ruminate on finding solace in simple pleasures amidst the chaos of celebrity. The chorus is a gentle sigh of contentment, a melodic exhale that perfectly captures the song’s themes of finding peace in the mundane. “Coffee & TV” is a charming and relatable Blur song, highlighting Coxon’s songwriting talent and the band’s ability to explore introspective themes.
11. Blue Jeans (1993)
Before Blur’s music became heavily infused with Ray Davies-esque satire, they crafted more straightforward, heartfelt tributes to London life. “Blue Jeans,” a subtle highlight from Modern Life Is Rubbish, exemplifies this earlier style. Graham Coxon’s guitar work is luminous, creating a shimmering sonic backdrop for Damon Albarn’s lyrics, which are replete with Portobello Road references and an air of contentment. The chorus, a simple yet powerful exhalation of satisfaction – “I don’t really want to change a thing” – perfectly encapsulates the song’s celebration of simple, urban pleasures. “Blue Jeans” is a beautiful and understated Blur song, capturing a moment of pure, unadulterated happiness.
10. Popscene (1992)
Despite being a commercial flop upon its initial release, “Popscene” was a pivotal track in Blur’s evolution. Scrappy, frenetic, and confrontational – with lyrics like “everyone is a clever clone” – it served as a bold announcement of a dramatically different Blur than the band that produced Leisure. “Popscene” was a deliberate and decisive step away from their Madchester origins, embracing a more aggressive and experimental sound. Its enduring significance is underscored by its inclusion in Blur’s recent reunion shows, demonstrating its lasting impact on both the band and their fans. “Popscene” remains a vital and energetic Blur song, marking a turning point in their career trajectory.
9. Death of a Party (1997)
If The Great Escape epitomized the brash, often grating excesses of Cool Britannia at its peak, “Death of a Party” perfectly captured the subsequent hangover. The song sounds rueful and disillusioned, shaken by the whole spectacle of fame and fleeting trends. Lines like “Why did we bother? Should have stayed away” express a deep sense of regret and disillusionment. Musically, despite the distorted guitar work, there’s a subtle nod to the creepy, claustrophobic sound of The Specials’ More Specials era, enhancing the track’s unsettling and reflective atmosphere. “Death of a Party” is a poignant and atmospheric Blur song, capturing the comedown from the Britpop party.
8. Girls & Boys (1994)
“Girls & Boys” became one of the defining anthems of the Britpop era, and surprisingly, it hasn’t aged as much as one might expect. This enduring quality may stem from the post-punk influences embedded in the drums and Coxon’s jagged guitar riffs, elements that resonate with much of 21st-century alt-rock. For those inclined towards the dance floor, the Pet Shop Boys remix offers a compelling alternative that’s just as brilliant as the original. “Girls & Boys” remains a vibrant and relevant Blur song, transcending its Britpop origins to influence contemporary music.
7. For Tomorrow (1993)
“For Tomorrow,” born from a bolt of inspiration on a hungover Christmas Day, is Damon Albarn’s love letter to London, filtered through a blend of Bowie (evident in the Bewlay Brothers-esque backing vocals), The Kinks, and Madness (whose influence is particularly pronounced in the extended, brass-laden 12-inch version). The song’s charm remains undeniably infectious, capturing the vibrant energy and eclectic spirit of London. “For Tomorrow” is a quintessential Blur song, celebrating their beloved city with a mix of nostalgia and contemporary flair.
6. Song 2 (1997)
“Song 2” stands as Blur’s most globally recognized hit. Its massive international success, particularly in America (where their Britpop satire often fell flat), is somewhat inexplicable given its simplicity. Essentially built around a repetitive five-note riff, the song’s uninhibited energy is the antithesis of The Great Escape’s self-conscious strain. “Song 2” is pure, unadulterated rock energy, a masterclass in minimalist songwriting that proves sometimes, less is indeed more. It’s an undeniably iconic Blur song, instantly recognizable and universally appealing.
5. Out of Time (2003)
“Out of Time” was an unconventional choice for the lead single from Think Tank, Blur’s first album in four years and their first without Graham Coxon for much of the recording process. The song is deliberately understated, profoundly melancholic, and possesses a fragile quality, seemingly on the verge of collapse during its poignant guitar solo. Yet, it is also breathtakingly beautiful, its languid melody unfolding with an effortless grace. There’s a palpable sense of weariness, but it’s underpinned by an underlying confidence and artistic maturity. “Out of Time” is a deeply moving and sophisticated Blur song, showcasing their ability to evolve and innovate even amidst internal turmoil.
4. End of a Century (1994)
“End of a Century,” a standout track from Parklife, was hailed by producer Stephen Street as the clearest evidence of Damon Albarn’s songwriting genius. Street’s assessment is well-founded; the song takes a seemingly mundane subject – the hesitant contemplation of settling down in a relationship – and transforms it into a vast, anthemic singalong. “End of a Century” is a masterful example of Blur’s ability to elevate everyday experiences into universal anthems, cementing its place as one of the most beloved Blur songs from the Parklife era.
3. Tender (1999)
“Tender” begins with a sense of exhaustion, reflecting a band seemingly battered by the tumultuous events of recent years, particularly Albarn’s breakup with Justine Frischmann. However, the song undergoes a transformative shift when a gospel choir enters, injecting a surge of uplifting energy. This unexpected juxtaposition creates a peculiar yet potent balance between weariness and resolve. “Tender” is a complex and emotionally charged Blur song, showcasing their ability to navigate personal turmoil and emerge with a message of resilience and hope.
2. Beetlebum (1997)
“Beetlebum” can be interpreted as a final, defiant salvo in the Britpop rivalry, a demonstration that Blur could out-Beatle the Beatles better than their competitors. However, to view it solely as pastiche is to miss its deeper complexities. The song features a brilliantly off-kilter guitar riff, lyrics that delve into the turbulent depths of a heroin-fueled relationship, and a chorus that somehow manages to be both soaring and subtly understated. “Beetlebum” is a multifaceted and musically rich Blur song, transcending Britpop tropes to become a standout track in its own right.
1. This Is a Low (1994)
Blur’s ambition to forge a uniquely British take on alt-rock sometimes led them into whimsical excess (see “Country House”). But at its best, this ambition resulted in moments of genuine transcendence, culminating in “This Is a Low,” the closing track from Parklife. Taking the shipping forecast as its unlikely starting point, the song embarks on a breathtakingly atmospheric journey around the British Isles. Its mood oscillates affectingly between sadness and a resilient optimism, creating a deeply moving and evocative sonic landscape. While debates may rage about whether it is definitively their “best” song, as The Guardian’s John Harris aptly noted, “This Is a Low” succeeded in “imbuing Britain with a mystery as potent as any American myth,” a truly remarkable achievement. “This Is a Low” stands as the pinnacle of Blur songs, a testament to their artistic ambition and their ability to capture the essence of British identity in music.
